Headshot of La Cieca

Cher Public

  • WindyCityOperaman: Unlike “Harvey Girls”, she insisted on doing her own singing here:... 9:22 AM
  • aulus agerius: I don’t know what the plan is in Baltimore. For their non-star Nabucco in a few weeks... 9:21 AM
  • armerjacquino: Yep, a few people in the front row of KING LEAR have spent the interval dabbing off what I can... 9:16 AM
  • armerjacquino: *shrugs* You can snob it up all you like. Plenty of ‘thinking human beings’ have... 9:14 AM
  • WindyCityOperaman: Born on this day in 1871 playwright John Millington Synge httpv://www.you... 9:11 AM
  • Poison Ivy: Also, I was in the rush line with the mom of a Met children’s chorus member. Which diva is... 9:03 AM
  • oedipe: That Carmelites menu is ridiculous But no doubt the singing will be superlative. 8:54 AM
  • PushedUpMezzo: AJ,agree pretty much re the themed menus – but I do fondly recall Mrs Lovett’s... 8:51 AM
  • oedipe: Yea, well, the Met HD’s do show up for free too, a couple of days later… :) 8:50 AM
  • la vociaccia: Hmm. I thought Stratas, in the first two decades of her career, had a gorgeous voice. But... 8:44 AM

Träume Center

This is Ring week here at parterre.com, cher public, and to kick of the communal watching festivities, La Cieca (not pictured) invites you to watch tonight’s prologue to the prologue, the documentary Wagner’s Dream. The Susan Froemke film is scheduled for PBS at 9:00 pm. Read more »

It’s the pictures that got small

Norma in HD from Teatro Antico, Taormina, Italy. Pollione: Gregory Kunde; Oroveso: Giacomo Prestia; Norma: Chiara Taigi; Adalgisa: Irina Lungu; Clotilde: Katia Lytting; Flavio: Massimiliano Chiarolla. The Chorus of Francesco Cilea, directed by Bruno Tirotta; The Festival Euro Mediterraneo Symphony Orchestra.” [Opera in Cinema]

Screen and screen again

The New York Times sends cub reporter (Get it? Cub reporter! Oh, La Cieca is killing herself with the puns!) Zachary Woolfe to the movie palaces of the heartland to assess the impact of the Met’s HD program.

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Red all over

You’ve heard what it sounded like; now you can see Saturday afternoon’s HD of La traviata, thanks to YouTube.

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Slow curtain, the end

Here’s a taste of what’s in store for the Met’s HD audience on Saturday

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Recovered girl

Here’s a bit of good news for all you Traviata fans with tickets for tomorrow night’s Met performance or Saturday afternoon’s HD.

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Glass, Gandhi, Occupy: Action

As suggested in Part I of this piece, to experience Glass’s Satyagraha as a purely aesthetic experience is unfortunately to succumb to a romantic ideology promoting detached reflection on art which is wholly inapplicable to such a politically-charged opera. The idea that Gandhi’s action-oriented philosophy would be packaged and sold for the sake of passive introspection would have bothered him deeply.

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Glass, Gandhi, Occupy: Performance

That Philip Glass’s opera about Gandhi’s nonviolent civil disobedience should be revived by the Metropolitan Opera in 2011—a year marked by nonviolent revolutions and uprisings around the globe—is timely, to say the least. The most recent production of his Satyagraha (1979) was first premiered by the Met in the spring of 2008 as America stood on the precipice of the most devastating economic crisis in three-quarters of a century.

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Experiment in error

It is, as Noel Coward remarked, astonishing how potent cheap music is. According to Brockway and Weinstock’s World of Opera, Gounod’s Faust was performed, after a rather lackluster debut in 1859, a thousand times inParis at the Opera between 1869 and 1894—a gobsmacking average of once every nine days. 

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Behind the red curtain

It was indeed a curious sensation  making a late morning trek to East 59th Street, a block devoted to showro0ms for bizarre upscale furniture and lighting fixtures, and then to enter a boutique cinema specializing in Hindi films (the big coming attraction right now is Desi Boyz) — and all this before sitting down in an auditiorium half- full of retirees to see a live performance of Don Giovanni from La Scala. That it worked as a Mozart experience I think can be chalked up to two factors: Robert Carsen‘s production and the constantly improving (if still imperfect) HD technology. 

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